As usual in Domènec’s processes, with this installation the artist examines the iconic design from a new point of view. The two BKF chairs appear without their coating, the piece of leather that covers them and making us possible to sit on them. Its original function is thus nullified and now the structures are ready for being used in different ways. One of these alternatives of use could be the one we see in the picture of the dictator Francisco Franco that appears near the chairs. The dictator uses the naked frames of the chairs to proudly display his hunting trophies: two deer heads whose baroque antlers oppose the soft and synthetic lines of the BKFs’ skeletons. Ortega y Gasset said once that hunting, (also called “cynegetics”) consists of everything that is done before and after the death of the animal, being the death a key part in this process. We can find here a certain resemblance with the evolution of modernity, an idealistic project that suffered from constantly harassment until its very crisis. The entire installation causes in its viewers a strange confusion resulting from the clash between an object based on very specific social ideals (progress, improvement of quality life and the development of an equitable community) versus some conservative, even retrograde standards.